Today was the first day back in Seattle's Georgetown neighborhood showcasing art in my new studio, infamously know from here forward as Studio G. It's been quite a few years and my wife Claire and I were delighted to be there to meet so many wonderful people as they walked through. We celebrated the arrival of fall, drank wine, spent time with old friends and talked about art and the new direction things are going. We were happy to see our good friend Deborah Stachowic's encaustics, paintings and new line of glass jewelry and are really over-joyed to be sharing the Tir-na-nO'g space with amazing potter and good friend Pamela Hathaway.
Claire showed some of her portrait work and I got to showcase more from my Fabulous Fakes project.
Here is the a Study of Johannas Vermeer's The Girl With a Pearl Earring
My wonderfully talented daughter Aubrie has a new web site/blog showcasing some here amazing work, including a section about her fabulous Playing Card Project, as well as some photos and drawings.
She's a welder and an outstanding print maker.
There came a time when I got a little stuck in the process and started feeling somewhat bored with the nature of my path in creating art. I speak expressly of technique. The rest of my artist-me works perfectly fine. I'm referring to, of course, my eyes, ears, nose, hands, feet and every other part of me necessary to create art of any kind. I was pondering the notion of become predictive to myself and just thought it was time to try something new. That's when my wife suggested that I start copying old master works. Just to have fun, if nothing else but more importantly, she thought it would help me shake some old rusty patterns in my creative process. Also, since I paint mostly from memory and not from real life or photographs, it would help me to paint more of what I see giving my work a new leverage and learning new ways of bring form and color to the paper.